ensemble: 2 versions (3[III=picc].2.2[BCl].2 - 220.127.116.11 - hp.pno.perc[timp+4] - strings)
(2[picc].2.2.2[cbn] - 18.104.22.168 - hp.pec[timp+2] - strings)
duration: 5 minutes
written: summer 2016
written for: Brevard Music Center
performed: July 2016; Brevard Concert Orchestra; Brevard, NC
February 2018; Fort Wayne Philharmonic; Fort Wayne, IN
selected for the American Composers Orchestra's 2018 Earshot Reading with the Fort Wayne Philharmonic
2nd place finalist for the 2018 Greater Bridgeport Symphony Orchestra Composer Competition
performers: Brevard Sinfonia conducted by David Dzubay
Nijinsky Dances is a piece that has been swirling around in my head for a number of years. On a more overarching point, I’ve always wanted to write a toe-tapping, pulsating, danceable concert opener. The hard part, of course, is being musically concise by saying a great deal in a relatively short time frame. Pieces such as Dvorak’s Carnival, John Adam’s Short Ride in a Fast Machine, or Stravinsky’s Fireworks (and Oliver Knussen’s equally as brilliant Flourish with Fireworks) are constructed in such a way that the audience rides the wave of musical momentum and excitement up until the very end. It’s a tough thing to do!
Concerning the title, Valslav Nijinsky has often been described as the greatest male dancer of the 20th century. In addition, Nijinsky was arguably the greatest choreographer of the 20th century as well, choreographing such landmark ballets such as Debussy’s L’après-midi d’un faune, Strauss’ Till Eulenspiegel, and Stravinsky’s Le Sacre du Printemps. Myself, along side countless other concert goers, rank these early 20th century ballets as some of our top pieces. In Nijinsky Dances, I create a quasi “pocket concerto for orchestra” that highlight’s each section of the orchestra doing what they do best while making subtle reference to the masterful orchestration of those famous ballet scores.
The work begins with the curtain rising on beat one, with a brash Russian-esque fanfare. Shortly afterwards, the orchestra becomes almost possessed or haunted by “ghostly” appearances of musical quotes from some of Nijinsky’s famous ballets. As the piece continues, the Russian gestures of the opening become infused with more driving and rhythmic motives, almost something along the lines of modern day club music. The piece ends with both types of dance music lying on top of one another until the end of the work.